000			04308cam a2200709 i 4500
001			on1105199830
003			OCoLC
005			20241121072724.0
006			m d
007			cr cnu---unuuu
008			190621s2019 ilu ob 001 0 eng d
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020			_a022663180X _q(electronic bk.)
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035			_a1941125 _b(N$T)
035			_a(OCoLC)1105199830
037			_aorg.bibliovault.9780226631806 _bBiblioVault
043			_anwgp---
050		4	_aML3486.G8 _bC36 2019eb
072		7	_aMUS _x041000 _2bisacsh
082	0	4	_a781.62/96972976 _223
049			_aMAIN
100	1		_aCamal, Jerome, _eauthor. _910389
245	1	0	_aCreolized aurality : _bGuadeloupean gwoka and postcolonial politics / _cJ�er�ome Camal.
264		1	_aChicago : _bThe University of Chicago Press, _c2019.
300			_a1 online resource (1 volume)
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
490	1		_aChicago studies in ethnomusicology
504			_aIncludes bibliographical references and index.
505	0		_aIntroduction. Listening for (post)colonial entanglements -- The poetics of colonial aurality -- Building an anticolonial aurality: gwoka mod�enn as counterpoetics -- Discrepant creolizations: music and the limits of hospitality -- Diasporic or creole aurality: aesthetics and politics across the abyss -- Postnational aurality: institutional detour and the creolization of sovereignty -- Coda. Bigidi.
520	8		_aIn the Caribbean island of Guadeloupe, the complex interplay between anticolonial resistance and accommodation resounds in its music. Guadeloupean gwoka music - a secular, drum-based tradition - captures the entangled histories of French colonization, movements against it, and the uneasy process of the island's decolonization as an overseas territory of France. In Creolized Aurality, J r me Camal demonstrates that musical sounds and practices express the multiple--and often seemingly contradictory--cultural belongings and political longings that characterize postcoloniality. While gwoka has been associated with anti-colonial activism since the 1960s, in more recent years it has provided a platform for a cohort of younger musicians to express pan-Caribbean and diasporic solidarities. This generation of musicians even worked through the French state to gain UNESCO heritage status for their art. These gwoka practices, Camal argues, are "creolized auralities"--Expressions of a culture both of and against French coloniality and postcoloniality
588	0		_aOnline resource; title from PDF title page (EBSCO; viewed June 21, 2019)
590			_aAdded to collection customer.56279.3
650		0	_aPopular music _zGuadeloupe _xHistory and criticism. _910390
650		0	_aPopular music _xPolitical aspects _zGuadeloupe. _910391
650		0	_aPostcolonialism and music _zGuadeloupe. _910392
650		6	_aMusique populaire _zGuadeloupe _xHistoire et critique. _910393
650		6	_aMusique populaire _xAspect politique _zGuadeloupe. _910394
650		6	_aPostcolonialisme et musique _zGuadeloupe. _910395
650		7	_aMUSIC _xInstruction & Study _xTheory. _2bisacsh
650		7	_aPopular music _2fast _96399
650		7	_aPopular music _xPolitical aspects _2fast _910396
650		7	_aPostcolonialism and music _2fast _910397
651		7	_aGuadeloupe _2fast _1https://id.oclc.org/worldcat/entity/E39PBJjtcvTQkFKcMTp4FRXw4q _910398
655		7	_aCriticism, interpretation, etc. _2fast _95662
830		0	_aChicago studies in ethnomusicology. _910399
856	4	0	_3EBSCOhost _uhttps://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=1941125
938			_aAskews and Holts Library Services _bASKH _nAH34792455
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938			_aProQuest Ebook Central _bEBLB _nEBL5790858
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938			_aYBP Library Services _bYANK _n15978188
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